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Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
CHAMBER REVIEW
Roe-Thorsteindøttir Duo / Sunday, February 01, 2015
Elizabeth Joy Roe, piano; Sæunn Thorsteinsdøttir, cello

Cellist Sæunn Thorsteinsdóttir

KNOTTY CELLO MUSIC THAT WAS (MOSTLY) EASY TO LOVE

by Terry McNeill
Sunday, February 01, 2015

Notable cello concerts have recently graced Sonoma County with Edward Arron’s Oakmont recital and Yo Yo Ma’s sterling solo outing in Weill. So it was not surprising that Sæunn Thorsteindóttir walked onto the Schroeder Hall stage Feb. 1 with pianist Elizabeth Roe and found a packed house of non-Superbowl fans.

In the first half contrasts abounded, beginning with the charming Beethoven Variations on “Bei Männern” from the Magic Flute and ending with the demanding Britten Sonata from 1961. The seven Beethoven variations served as an excellent warm up work, the balances good and the cellist using chaste vibrato and a secure and radiant bow style. Acoustics in the hall gave the instrument a pellucid sound, carrying easily to upper rows of seats.

The Britten is a tough work to love with sad, lyrical and restless sections combining in its five movements. Using the score as she did throughout the recital Ms. Thorsteindóttir played the long first movement with intensity, ending it with an extended tranquil fermata that was echoed by Ms. Roe’s gentile right hand tremolo. The aggressive pizzicato technique in the Scherzo was juxtaposed by demanding bursts from the piano, a question and answer dialogue that was compelling.

A plodding dirge characterized the following Elegia with bracing washes of sound and broad notes from the cello and hushed up-and-down octave jumps from the piano. The playing in the fourth movement caught the bouncy and banal nature of the music that turned at times to eerie and strident cello notes high on the fingerboard.

Skittish outbursts permeated the playing in the concluding finale and the tempos were fast but never out of control. The unison playing was faultless. The applause was substantial but not protracted.

Rachmaninoff’s early Sonata in G Minor, an easy piece to love, took up the entire second half and received a generous and grand reading. Ms. Thorsteindóttir doesn’t command a big outgoing sound, but she has a salutary tone quality and was ready to defer pride of place to her partner in many sections. The Rachmaninoff piece needs a pianist with a big technique and profile, and Ms. Roe was up to the task. As is well known with Rachmaninoff there are a lot of notes (difficult ones too) but if some are skipped or smudged the texture isn’t quite right. The pianist’s playing occasionally had this result and covered the cellist with extended use of the shift pedal and lavish employment of the damper pedal.

The second and third movement performances were highlights of the concert, especially in the provocative scherzo where the players were on fire with inspiration. The themes overflowed with passion. In the famous Largo Ms. Thorsteindóttir’s first entry following the lovely piano introduction was opulently colored and her conception throughout was subtle and restrained.

The playing of the weighty themes in the finale lacked clarity but was never wanting in momentum and potency. This music animated the audience of 250 and a standing ovation resulted.

Ms. Thorsteindóttir announced an encore, the short slow movement from the Chopin G Minor Sonata, Op. 65. Here the playing was captivating, each phrase integrated in a shapely and prismatic whole.